Dana Schutz Quotes

When we read, we are doing more than delectating words on a page stories, characters, images, notions. We are communing with the mind of the author.

Really good books need a chaos element: something weird or inexplicable.

Every book has an intrinsic impossibility, which its writer discovers as soon as his first excitement dwindles.

I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.

The great pleasure for me in writing short stories is the fierce, elegant challenge.

All novels attempt to cut neural routes through the brain, to convince us that down this road the true future of the novel lies.

I find writing for children much easier. I don't mean it's less demanding - you've got to have a talent for it and you've got to work very hard - but you don't have to pull your guts out and lay them on the line in quite the same way as when you're writing for adults.

Every so often when I'm writing, a character might actually be a distinct person in my head - often not an actor or a face, literally a person who just seems to exist in my imagination. Then the challenge is finding somebody who is close enough to that to make me feel like I've ended up where I wanted to be.

The issue of doing an adaptation of a book is the theater of the mind, and so you always face that.

I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'

When you read a comic book, there's a space between what's happening on the panel and what you have to literally see in your mind. That's not true of movies, where you see everything.

I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

The way one perceives a book and a film are totally different. You read a book in the privacy of your room. You are the boss; you set the pace and rhythm of your reading. In the movie house, you can't do that.

On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.

My forte is editing and I am most experienced in that. I love the challenge of playing with material and imagination while editing.

I am, myself, a very poor visualizer and find that I can seldom call to mind even a single letter of the alphabet in purely retinal terms. I must trace the letter by running my mental eye over its contour in order that the image of it shall leave any distinctness at all.

Though it's marvelously entertaining, and I had fantastic fun writing the book, it's not terribly easily, the material, and it's not all that familiar...although we think it is familiar. The processes of the wonderful narratives are very intricate. It's about the charm - the spellbinding charm - of ingenuity, and it's not so easy to remember the plots or the structure or even the names.

It's gut instinct that helps me determine how to write a story. I love the surreal because I am faced with the challenge of making the unbelievable believable. That challenge is thrilling.

For at least twenty minutes she handed out the story. The youngest kids were soothed by her voice, and everyone else saw visions of the whistler running from the scene. Liesel did not. The book thief saw only the mechanics of the words--their bodies stranded on the paper, beaten down for her to walk on. Somewhere, too, in the gaps between a period and the next capital letter, there was also Max. She remembered reading to him when he was sick. It he in the basement? she wondered. Or is he stealing a glimpse of the sky again?

Plots are ... what the writer sees with.

But when you read a book, what you see are black squiggles on pulped wood or, increasingly, dark pixels on a pale screen. To transform these icons into characters and events, you must imagine. And when you imagine, you create.

I look for really great characters. I say great because as long as they're really good, there's something you can do. And really good storytelling. And when people ask me what the story is, I say it's really several stories really. They're intermeshed.

I used my daughter's crayons for each main character. One end of the wallpaper was the beginning of the story, and the other end was the end, and then there was all that middle part, which was the middle.

Anyone can write five people trapped in a snowstorm. The question is how you get them into the snowstorm. It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience. To think of a plot that is, as Aristotle says, surprising and yet inevitable, is a lot, lot, lot of work.

I love the feeling of being on the hunt - the feeling that the story is refusing to be solved in some lesser way and is insisting that you see it on its highest terms.